My Busy 2018 Music Journey Part 2: New Music & 2019 Preview

Part 1 of this 2-part series looked back on the concerts I was fortunate to catch this year. Another significant aspect of my 2018 journey was listening to music, both familiar and new. While most of the music that’s coming out these days isn’t my cup of tea, I still ended up reviewing 24 new releases this year. About half (13) are studio albums, while the remainder is a mix of reissues, vault type releases and live records. Even if you only consider the new studio releases, 13 albums over the course of one year, or an average of approximately one per month, isn’t so bad for somebody who almost entirely lives in the past when it comes to music.

From the above studio albums, I’d like to call out the following: John Mellencamp, Other People’s Stuff, Dec 7 (review); Greta Van Fleet, Anthem Of The Peaceful Army, Oct 19 (review); Paul McCartney, Egypt Station, Sep 7 (review); Buddy Guy, The Blues Is Alive And Well, Jun 15 (review); Roger Daltrey, As Long As I Have You, June 1 (review); and Sting & Shaggy, 44/876, Apr 20 (review). Following are some clips.

Teardrops Will Fall, a ’60s tune co-written by Gerry Granaham and Marion Smith, was first recorded by John Mellencamp for his June 2003 album Trouble No More. But it actually sounds he could have taken the tune from his 1987 gem The Lonesome Jubilee, Mellencamp’s first record where he moved away from straight rock toward a more roots-oriented sound.

While Greta Van Fleet will probably need to find a more original style to ensure their longevity, selfishly, I can’t deny getting a kick out of their Led Zeppelin-style rock. The Cold Wind from their new album is a great example. I don’t know of any other band that sounds like the mighty early Zep. One thing is for sure: Robert Plant can no longer deliver vocals with this degree of intensity.

Egypt Station is Paul McCartney’s 17th solo study album. Here’s I Don’t Know, a classic McCartney piano-driven pop song. Yes, Macca’s voice has noticeably changed since New from October 2013, but I actually think it goes pretty well with his latest songs. Based on YouTube clips I’ve watched, I’m less sure about Beatles tunes. Many are in high keys and as such tough to sing, so Macca may have to make some adjustments.

Moving on to Buddy Guy, who at age 82 shows no signs of slowing down. One of the highlights of his latest record is Cognac, where he trades guitar licks with Jeff Beck and Keith Richards. If you’re a guitarist with basic blues skills, you just feel like grabbing your instrument and joining in!

As Long As I Have You is Roger Daltrey’s first solo album in close to 26 years. Here’s the excellent title track, a cover of a tune that initially was recorded by soul singer Garnet Mimms in 1964. The Who also played it in their early days.

Last but not least in the new studio album category is what at first sight may look like a somewhat odd pairing: Sting & Jamaican pop reggae fusion artist Shaggy. But they actually blend quite well, and here’s some pretty groovy evidence: Just One Lifetime.

This year also saw various great reissues and songs from the vault type albums. The two releases I’d like to highlight here are the reissue of The Beatles’ White Album (review) and Songs For Judy, an excellent Neil Young compilation of live solo performances from his November 1976 tour with Crazy Horse (review).

To me the true revelation of the Beatles’ reissue are the so-called Esher Demos, early and unplugged versions of most of the original album tracks, along with a few additional songs that didn’t make the White Album. They were all recorded at George Harrison’s bungalow in Esher located to the southwest of London. Here’s the Esher demo of Revolution.

The song I’d like to call out from Neil Young’s recent vault release is The Needle And The Damage Done. It remains one of my favorite tunes from Harvest, Young’s fourth studio album that came out in February 1972.

I also would like to acknowledge two Jimi Hendrix releases: The reissue of Electric Ladyland, the third and final studio album by The Jimi Hendrix Experience, and Both Sides Of The Sky, the third in a trilogy of posthumous albums after Valleys Of Neptune  (2010) and People, Hell and Angels (2013).

The last category of 2018 albums I’d like to touch on are live releases. I already noted Neil Young’s record. Three others that deserve to be called out are Bruce Springsteen’s Springsteen On Broadway (review), Sheryl Crow’s Live At The Capitol Theatre (review) and Soulfire Live (review) by Little Steven and The Disciples of Soul. Springsteen On Broadway is one of the best new albums I’ve heard this year. While Bruce Springsteen as a great music performer wasn’t any news to me, I had not fully appreciated his compelling verbal story-telling capabilities. There’s a bit of that on the Live/1975-1985 box set where Springsteen talks about how he was drafted for Vietnam and that his dad was happy they didn’t take him. Springsteen on Broadway takes his story-telling to another level. In fact, Springsteen’s monologues that precede his songs are almost more compelling than the music performances. Here’s part 1 of the introduction to My Hometown.

Next up: Sheryl Crow. If It Makes You Happy is one of my favorite Crow tunes from her eponymous second studio album released in September 1996. On the new live album, she starts off with another unidentified song I don’t recognize, before launching into Happy.

On to Little Steven. Soulfire Live captures his 2017 tour with The Disciples of Soul in support of his excellent Soulfire album, one of my favorite new records from that year. Among the live album’s highlights is a terrific cover of the Etta James tune Blues Is My Business. In addition to Steven demonstrating that he can be more than just a side-kick,  The Disciples of Soul prove what a terrific backing band they are.

So what’s in store for my music journey next year? On the concert front the only thing I can say for sure is I’m thrilled I got a ticket for The Rolling Stones on June 13 at MetLife Stadium in East Rutherford, N.J. It will only be my second time to see the Stones. Three other artists who are currently on my radar screen are John Mellencamp, John Mayall  and Paul McCartney.

Mellencamp has a series of gigs in New Jersey and New York at the end of February. I’d definitely enjoy seeing him again! Mayall has started booking dates in Europe for February and March. I’ve never been to one of his shows and hope he’ll add a U.S. leg to the tour that includes at least one logistically feasible concert. As for McCartney, his current tour schedule shows U.S. gigs between late May and mid-June. Unfortunately, none of them are within reasonable reach, so hopefully there will be additional dates closer to my location.

To frequent visitors of the blog it won’t come as a shock that I have every intention to continue seeing tribute bands. In fact, I already have a ticket for Neil Young tribute Decade for January 11 in Asbury Park, N.J., where they are going to recreate Young’s MTV Unplugged concert from 1993 – should be pretty cool! On February 23, I’m hoping to see Good Stuff, a great new tribute to Steely Dan, Gino Vannelli, Sting and Stevie Wonder. I’m planning to do more about these guys in the near future. Assuming the above British Invasion and Rock The Farm festivals will happen again in 2019, I certainly want to return to both events. Undoubtedly, there will also be plenty of other tribute opportunities.

Before finally wrapping up this post, I also would like to take the opportunity to reflect on the current status of the blog. I’m generally pretty happy where things stand at this time. Sticking with it wasn’t necessarily a given when I started out in late June 2016. While I’ve always emphasized I’m doing this because of my passion about the subject of music, not to become “famous,” I cannot deny that getting recognition in the form of comments, likes and followers is encouraging. I’m happy traffic has multiplied from 2017 and to date includes visitors from more than 70 countries.

I’d like to thank all readers, especially those who keep returning and leave comments. Apart from learning new stuff about music, feedback can also help me gain new perspectives. Whether you’re a fist-time visitor or one of the regulars, I’d like to wish you a great and peaceful Holiday season. And if you’re a fellow music blogger, to borrow creatively from Neil Young, keep on rockin’ in the blogosphere!

Christian

Sources: Wikipedia, Christian’s Music Musings, YouTube

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Springsteen On Broadway Becomes Accessible To Broader Audience

Unfortunately, I’m among the folks who didn’t have a chance to see Bruce Springsteen’s solo performance on Broadway, which closed yesterday. While I’ve no  doubt anything can replace the actual experience at New York City’s Walter Kerr Theatre, the good news is Springsteen’s show has now become available to a broader audience. It was released as an album on Friday, and as of today it’s also on Netflix for streaming.

I had known for many years Springsteen is a terrific live music act. In fact, I feel fortunate to have witnessed this myself twice – once in Germany in the ’80s and in 2016 in New Jersey. Both are unforgettable concerts. But what truly blew me away is the power of Springsteen’s verbal story-telling he uses throughout the show to introduce his songs. The album does a beautiful job at capturing both the performances, including two songs for which he is joined by his wife and longtime E Street Band member Patti Scialfa, and the story-telling. But it’s really the visual of the film that brings both aspects to life, particularly the latter. If you dig Springsteen and have access to Netflix, it’s a must-watch!

Directed by Thom Zimny and shot by Joe DeSalvo, the film was captured before a private audience on July 17 and 18 this year. I assume the two performances also served as the basis for the album, since its audio sounds identical to the film. Springsteen’s Broadway show closely mirrors his 2016 autobiography Born To Run. It covers different stages of his life in chronological order, for example his upbringing in Freehold, N.J.; watching Elvis Presley on the Ed Sullivan Show as a 7-year-old and how that planted the seeds of his music career; or listening to the bleak stories of forgotten Vietnam veterans as a 30-year-old, which two years later would inspire the writing of one of his biggest hits and perhaps his most misunderstood song: Born In The U.S.A.

Apart from sharing fascinating anecdotes, Springsteen displays a great sense of humor throughout the show. Take this example during the performance of the show’s first song Growin’ Up, where he launches into the following monologue: “I’ve never held an honest job in my life. I’ve never done any hard labor. I’ve never worked 9 to 5. I’ve never worked 5 days a week until right now. I don’t like it. I’ve never seen the inside of a factory and yet that’s all I’ve ever written about. Standing before you is a man who has become wildly and absurdly successful, writing about something, which he has had (pause) absolutely no personal experience. I, I made it all up. That’s how good I am.”

To give you a bit of a flavor, following are a few audio clips as well as the trailer for the Netflix film. First up: Part 1 of Springsteen’s intro to My Hometown:

Here’s Springsteen’s blistering acoustic slide guitar version of Born In The U.S.A.

To me one of the show’s highlights is Tenth Avenue Freeze-Out. Not only do I love this tune, but Springsteen’s comments during the song about former E Street Band saxophonist Clarence Clemons are truly moving.

Of course, no Springsteen gig would be complete without the epic Born To Run. So here it is!

The last clip I’d like to highlight is the trailer for the Netflix film.

While I have no doubt that Springsteen didn’t leave his monologues to chance, they come across as genuine, not memorized. If he embellished his stories here and there for bigger impact, it’s certainly not recognizable, at least not to me. I suspect this film will go down in music history as one of the best concert movies.

Sources: Wikipedia, New York Times, Rolling Stone, YouTube